The Chicago Symphony Orchestra (CSO) has had a somewhat unremarkable lineup in the first half of its 2024-25 season. However, Thursday night’s performance stood out, featuring a daring 20th-century concerto and a lesser-known gem by a celebrated Russian composer. The program showcased one of the year’s most captivating concerts, even though the hall had many unoccupied seats.
The evening’s triumph was largely credited to conductor Dima Slobodeniouk, making a striking downtown debut. Previously, his only CSO appearance was at Ravinia in 2017. Slobodeniouk has been steadily building a strong reputation, conducting major American orchestras like the Boston Symphony and New York Philharmonic to great acclaim.
With a poised and commanding presence, the Russian-born Finnish conductor delivered a performance that blended clarity, precision, and bursts of brilliance. All three pieces of the program were presented with focus, passion, and warmth, avoiding a purely mechanical approach.
Edvard Grieg’s Peer Gynt Suite No. 1 has become a less common concert feature over time, which only heightens appreciation for its melodic elegance and vivid orchestration.
Under Slobodeniouk’s baton, the CSO breathed new life into this familiar work. “Morning Mood” unfolded with pastoral charm, while the strings captured profound emotion in “Ase’s Death.” The conductor’s attentive pacing allowed “Anitra’s Dance” a contemplative grace. The famous “In the Hall of the Mountain King” escalated into an exhilarating frenzy, though the climactic trumpet lines could have been more prominent.
Witold Lutosławski’s Cello Concerto, composed for Mstislav Rostropovich in 1970, is a gripping, dramatic work that defies its creator’s insistence on “pure music.” Given the political climate of the time—marked by repression in both Poland and the Soviet Union—it’s difficult to ignore the concerto’s undertones of resistance and struggle.
The concerto portrays a tension-filled confrontation between the cello (the individual) and the orchestra (oppressive forces). Soloist Johannes Moser’s masterful performance captured this battle with unparalleled intensity. His bold, nuanced interpretation conveyed a narrative arc, from the defiant opening to the moments of fleeting lyricism and eventual resurgence.
Slobodeniouk and the CSO provided impeccable support, bringing out every layer of the score’s complexity. The result was one of the most riveting performances of the year, filled with fiery playing and emotional depth.
The CSO has honored Sergei Rachmaninoff in previous seasons but hadn’t tackled his underappreciated Symphony No. 1 until now. Known for its disastrous premiere in 1897—attributed partly to conductor Alexander Glazunov’s alleged intoxication—the symphony pushed the young composer into a prolonged creative slump.
Though stylistically darker and less varied than Rachmaninoff’s later works, the symphony is a fascinating study of despair, with the Dies Irae motif woven throughout. Slobodeniouk led a compelling performance, highlighting the work’s bleak beauty and making a strong case for its revival.
The opening movement was executed with power and depth, while the second movement balanced its delicate charm with underlying shadows. The Larghetto featured hauntingly pastoral tones, elevated by flute solos from Stefán Ragnar Höskuldsson and a touching duet between concertmaster Robert Chen and principal cellist John Sharp. The finale’s intense brass fanfares and brooding repetitions closed the piece with a sense of unresolved tension.
Slobodeniouk’s performance drew out some of the CSO’s most impassioned playing this season, with every section delivering extraordinary energy and precision. His insightful approach and dynamic presence left a lasting impression, making a strong case for a swift return engagement with the orchestra.
Thursday night’s concert was a reminder of the power of thoughtful programming and inspired leadership, proving that the CSO remains capable of producing unforgettable performances.
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